Table Of ContentBICKFORD
BICKFORD MANDOLIN METHOD
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THE BICKFORD
METHOD
MANDOLIN
FOUR BOOKS
IN
*
BY
ZARH MYRON BICKFORD
Carl
Fischer
INC.
62 Cooper Squore, New York 3
BOSTON • CHICAGO • DAUAS • LOS ANGELES
COPYRIGHT RICMXX BY CARL FISCHER, NEW YORK
International Copyright Secured.
Copyright Renewed
~'~——-—-•-————'-———— —— »—"—»»<
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072
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FOREWORD
S
MUS
V.I ^.143g§^
This Method has been written not merely to add another to the long list of instruction books on the market, but
rather as an attempt to present the subject in a more logical and practical manner, and, at thesame time, to introduce
a number of features which have not been covered heretofore, but which are of vital importance to the mandolinist of
the present day and of the future.
Particular attention is called to the reading matter and to the cuts illustrating the various points, both features
making this Method valuable to student and teacher alike.
The word "Method" implies a system of study or method of procedure, andtheentireworkhas been planned with the
idea of presenting every point and subject as itis ?jee<ferfandnotbefore. For example, the usual "Rudiments of Music"
are not given in a dry, didactic form at the beginning, but the subjects are introduced at the proper time, as they are
needed, throughout the work. Another important subject is the tremolo, which, in the majority of Methods, is intro-
duced at the very beginning, notwithstanding the fact that progressive teachers, virtuosi and modern authorities are
agreed that the very nature of the tremolo (a rapid succession of down and up strokes) demands a considerable degree of
,
freedom and facility in the slower and more measured strokes before the rapid and umneasured strokes can be properly
and smoothly done.
—
Attention is also called to the pages devoted to the other instruments of the mandolin or plectnun family thebanjo-
mandolin, tenor or cello-banjo, tenor and octave mandola and mando-cello, since every mandolinist should know some-
thing of these instruments, and it is believed that this is the first work which has given them consideration.
—
Many of the Melodies and Studies have been given titles a feature which detracts in no way from their utility,
but which, it is believed, will give them an added interest. Book I has been designed to provide a thorough foundation
and if some of the principles and rules laid down therein seem didactic or arbitrary, it must be remembered that they
are for the purpose of development, and that some of them will be modified as the pupil advances in technical and musical
development.
In preparing this Method, the works of all the greatestauthorities on the mandolin have been consulted and studied,
including those of Munier, Bellenghi, Branzoli, Christofaro, Mariton, Pietrapertosa, Marzuttini, Bertucci, Tartaglia,
Francia and many other foreign authors, in addition to those of all the American authorities.
This exhaustive research, coupled with the author's extensive experience as a teacher and soloist makes him believe
that this work covers the entire subject of mandolin playing in a most comprehensive manner.
The endeavor of the author to cover the ground in a complete manner has necessitated the devotion of considerable
space to the development of the correct manner of playing popular and dance music of various kinds. At the same time,
however, it is believed that a real love for the best in music and musical literature will have been instilled, both through
the high ideals constantly held forth and through the many examples and excerpts from the works of great composers
thattheMethodcontains.
Inpointsofprocedurewherein this Method difiFers from those with which the teacher orplayeris familiar, the author
begs a careful consideration and test of its principles before judgment is passed.
A
condensed synopsisof the three following Books will be found at the end of this volume.
In conclusion, the author wishes to say that nothing in this Method is an experiment, every principle having been
—
given thatseverestofall tests long continued usein the studio, with successful andgratifyingresults,anditishoped that
teachers and students alike will derive as much benefit from the careful appUcation of these principles as has the author.
New Yorx City ZARH MYRON BICKFORD
MBWTORK PUB'JC MBR/U^Y PCS THIS PRRFORimiaARTB
40 UINCW.N- CEimH PLAZA.
NEW YORK, NY 10023
D#75
. 1
CONTENTS
Foreword 3 The Tremolo in 2/4 Time 45
History of the Mandolin 5 The Juggler March 46
My
Suggestions to Pupils 7 First Duet. 47
Suggestions to Teachers 7 Repeating the Same Note When Tremoloed 47
Illustration showing parts of Instrument S La Chacha, Waltz 48
Diagram of Notes 9 Intervals 49
Notation and the Staff lo Majpole Waltz 50
Holding the Instrument 1 Exercise for Stopping the Tremolo 52
The Fingers of the Left Hand 12 Ninon (mandoIi;i and guitar duet) 52
The Right Hand and Arm 12 Expression 53
The Pick and How to Hold It 13 When to Tremolo Quarter Notes 54
Tuning the MandoUn 13 A Suggestion 55
How to use the Right Hand 15 A Study in Sostenuto 56
The Down Stroke 15 The Key of D 57
The Down and Up Stroke 16 Tender Thoughts (mandolin and guitar) 58
Time and Measure 17 Harp Echoes 59
Open String Study 18 Further Chord Practice 60
Notes on G and D Strings 19 Minuet (Christofaro) 60
Notes on A and E Strings 20 Key of B Minor 62
Study for Locating Notes 21 Moderato in D 63
Study for Right Hand 22 Triplets 64
Two-four Time or Measure 23 Unusual Picking 65
Sixteenth Notes 24 Grace Notes 66
Bingo (Polka) 24 Patricia Waltz (two mandolins and guitar) 68
Keys and Scales 25 Studies in Chord Playing 71
Key Signatures 28 Simple and Compound Time 72
Scale of E Minor 29 Playing 2/4 Time 73
Dicky Bird Waltz 30 Two Steps and Marches in 6/8 Time 74
Sixteenth Notes in Common Time 31 The Metronome 75
Chords and How to Play Them 31 O'er Hill and Dale (mandolin and guitar) 76
The Tremolo 32 Chord Studies 78
Whole Notes 34 Chromatic Study 78
Firefly Waltz 35 Dotted Eighth Notes. 79
The use of the Fourth Firmer 36 Toujours Gai (mandolin and guitar) 80
Changing Fingers with the Up Stroke 36 Key of F 82
Hasta La Manana 39 Scale of D Minor 83
Half Notes 40 Extending the Fourth Finger 84
-. . .
Starting and Stopping the Tremo.o. 41 Dance of the Honey Bugs 85
,
When to Tremolo 42 Key of A 86
The Importance of Leaving Left Hand Fingers in List of Musical Terms (with pronuncia.tion) 87
Position 43 Abbreviations 89
Fundamental Rules for Picking 44 Afterword 9°
In the Springtime, Waltz 44
